Broadway

Even if you don't know [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets), you're likely familiar with the first part of that title. The story of the boy from Neverland who wouldn't grow up [first took flight in 1904 as a play by J.M. Barrie](https://www.newyorktheatreguide.com/theatre-news/news/all-the-peter-pan-adaptations-in-broadway-theatre) and continues to shape countless childhoods worldwide. 

In 2013, Mischief Theatre Company — a comedy theatre group led by British writer/performers Jonathan Sayer, Jonathan Lewis, and Henry Shields — followed up the success of their smash hit [*The Play That Goes Wrong*](https://www.newyorktheatreguide.com/show/14790-the-play-that-goes-wrong-tickets) with their own take on that beloved tale. *Peter Pan Goes Wrong* is less of an adaptation and more of a play-within-a-play, as the fictional Cornley University Drama Society is actually putting on *Peter Pan*.

But there’s a key difference: The show gets derailed almost constantly by mile-a-minute slapstick in the form of crumbling sets, forgotten lines, offstage fights, and fly rigs that don't actually lift up the actors.

This physical comedy, plus the globally familiar, family-friendly nature of *Peter Pan*, makes Mischief's show — now premiering on Broadway at the [Barrymore Theatre](https://www.newyorktheatreguide.com/theatres/barrymore-theatre) — a treat for anybody. As performer Fred Gray described the play, "It just feels like you've been hugged."

"The show is pretty much language-independent," added performer Stephen James Anthony. "Folks who may not speak English well or first could probably still enjoy the show."

Hear more from *Peter Pan Goes Wrong*'s cast and creators about even more reasons to join them in Neverland through July 9.

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## *Peter Pan Goes Wrong* uses *The Play That Goes Wrong* playbook.

The two shows have the same creator, after all. *Peter Pan Goes Wrong* isn't an official sequel to *The Play That Goes Wrong*, but both center on the same Cornley troupe. Their murder mystery play in *The Play That Goes Wrong* was a bust, but the group decides to give it another go with *Peter Pan*.

"It's rare that you get to go see a different show with the characters that you love from a previous show, even though it's about a totally different plot," said understudy Ryan Vincent Anderson. "You're going get the lovable characters you like [from *The Play That Goes Wrong*], but you're also going to get the absolutely amazing story of *Peter Pan*."

Sure, Cornley's staging still goes awry, in part due to the characters' offstage squabbles: "You get a little bit more of a peek into the relationships going on between the cast of Cornley," Greg Tannahill, who plays Jonathan, explained. "You see... things going wrong and them not dealing with it in the best way, but you also get a little peek at them not dealing with each other in the best way."

Nonetheless, keen fans will notice growth in the familiar characters, like sound board operator Trevor, diva Sandra, and stage manager-turned-actress Annie.

"We've learned some things about how to produce better theatre," said understudy Brenann Stacker, referring to the Cornley troupe. "They're better actors, they're better scenic designers. They're actually growing as human beings."

## The cast members are friends on stage and off.

Multiple *Peter Pan Goes Wrong* actors met at drama school together. Chris Leask and Matt Cavendish — who play Trevor and Max, respectively — were in the same year. Sayer, Shields, and Lewis created Mischief as a group project during their time at university.

Plus, most of the principal cast members worked together on the show's premiere 10 years ago, and others have worked with Mischief in at least one production of *Peter Pan Goes Wrong* or *The Play That Goes Wrong* worldwide.

"It's not just a working relationship. We're all best mates, and we have been for the last 13 years, which is why Mischief came together in the first place," said Leask. "Everyone just enjoyed working together and creating theatre. The charm of Mischief is that we all know each other so well. We all just want to get out [there] every night and have fun and entertain our audience. You can see that relationship on stage between the actors."

In other words, *Peter Pan Goes Wrong* lets the actors goof off with their friends. What could be more fun than that?

## *Peter Pan* is a globally beloved story.

"We've done [*Peter Pan Goes Wrong*] in several different countries, and we keep thinking, how are we going to adapt it for this particular country?" said director Adam Meggio. "And in the end, you don't actually have to do that much with it because it's *Peter Pan*, which is a fairly universal story.

"People tend to know it," he continued. "And even if you don't know it, it doesn't matter, because you get it when you watch it." The nostalgic familiarity of *Peter Pan* and its characters — Peter, Tinkerbell, Wendy, Captain Hook — is a major reason Mischief's version succeeded in multiple countries on both sides of the Atlantic.

## The play is rooted in a popular British theatre form.

"Back in the U.K., we have a big English tradition of the pantomime," Meggio explained. "The grand style of acting, the actor down in the footlights being a villain, puffs of smoke and people appear, old stage magic."

In short, pantomime is just a more exaggerated version of what comedic performing already is. The concept of pantomime may be uniquely British, but its old-fashioned, campy performance style is universal.

That said, the creators made some tweaks for American audiences, mainly vocabulary-wise. "Rather than white spirit, it's paint thinner," Sayer said. Added Shields: "We've changed the word interval to intermission... We also had to change the word polytechnic to university, which is fair because I don't think even British people really know what to call it."

## *Peter Pan Goes Wrong* takes flight — literally.

You can't follow the second star straight on 'till morning on foot. Peter Pan and Tinkerbell must fly, and that's only half the complex stage magic going on in this show. "There's loads of elaborate routines like flying and pirate ships and creating these incredible sets," described Shields. "That really is just fodder for us to tear everything apart."

In other words, expect lots of flying, but in the hands of the clueless Cornley company, expect lots of failed takeoffs and falling, too.

## We all have an inner Peter Pan.

Unlike Peter Pan, we're all growing up whether we like it or not. But at *Peter Pan Goes Wrong*, the actors and audience members can stop the clock for a few hours.

"There's something really universal about not growing up, right?" said Anthony. "Life gets serious and difficult, especially in these past few years, and who doesn't want to go back to a place of childlike wonder and simple pleasures?"

Added Anderson: "Our inner child just withers away sometimes. We kind of have to, to get through life, but then to come to a show like this and just experience childlike joy, it's amazing."

## Everyone loves when things go wrong.

No one likes embarrassing themselves, but when others do it, it's comedy. When asked why this phenomenon is so universal, the *Peter Pan Goes Wrong* cast had quick answers.

"Comedy is mostly about status and status transactions: people thinking that they're better than they are, and then getting their comeuppance and being knocked down a peg or two," Meggio said. "Those sorts of things tend to be very human."

Anthony had just the word: "Schadenfreude. There's something delicious about watching someone get defeated by a prop, or, despite their best efforts to be very respectable, they end up looking like an absolute fool." We might usually feel bad for laughing, but at *Peter Pan Goes Wrong*, it's not only okay, but encouraged.

## The play isn't just funny — it's heartfelt.

Despite facing setbacks at every turn, the actors are determined to make it through their play. *Peter Pan Goes Wrong* sincerely celebrates resilience and teamwork, which one might not expect from a show bursting with gags.

Harry Kershaw, who plays Francis, made this point by comparing *Peter Pan Goes Wrong* to *The Office*. "[In] the English *Office*... the most successful thing that's happened is that Ricky Gervais has told someone to fuck off," he said. "That's the win, whereas the American *Office* ends on a more upbeat note, with Michael Scott being a hero.

"In this show, there's more of a sense of everyone who's managed to finish the show is a hero," Kershaw continued. "There's a wonderful sense of achievement."

That warm feeling, plus all the joy from the comedy leading up to it, makes this trip to Neverland worthwhile.

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*Responses have been condensed and edited for length and clarity.*

*Photo credit: Photo credit: The cast of Peter Pan Goes Wrong in London in 2015. (Photo by Alastair Muir)*

Why 'Peter Pan Goes Wrong' has universal comedic appeal

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Peter Pan Goes Wrong on Broadway - NYC

Peter Pan Goes Wrong on Broadway

The show's Broadway cast, many of whom have performed in it or *The Play That Goes Wrong* before, shares what makes this show that goes wrong so hilariously right.

Razzle dazzle us! For 40 years, composer John Kander and lyricist Fred Ebb worked side by side to create a brand of Broadway musicals packed with beauty and biting commentary. Their shows leave you singing and thinking – a case in point is [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets), one of the longest-running shows in theatre history. 

The prolific duo is known for collaborations with various writers, directors, and actors, and their Broadway premieres continued even after Ebb’s death at age 76 in 2004. The latest is [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets), based loosely on Martin Scorsese’s same-named film, now playing at the [St. James Theatre](https://www.newyorktheatreguide.com/theatres/st-james-theatre). It’s a perfect time to look back through the team’s illustrious career – which includes three Tony Award-winning scores – and all the Kander and Ebb musicals on Broadway.

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## 1965: *Flora, The Red Menace*

Kander and Ebb’s first Broadway collaboration is based on the novel *Love is Just Around the Corner*. Set in Depression-era New York, the romantically and politically charged musical lasted around three months. That was long enough for its star, Liza Minnelli, to win a Tony Award and begin a long collaboration with the pair.

## 1966: *Cabaret*

A ratty club in Germany amid the Third Reich’s rise to power seems an unlikely musical setting, but countless audiences came to the cabaret. Based on Christopher Isherwood’s stories and the play they inspired (John Van Druten’s *I Am A Camera*), the show is a masterwork that earned the duo their first Best Score Tony win.

The musical, directed by Harold Prince, opened in 1966 and ran for nearly three years, later Willkommen-ing audiences back to Broadway in 1987, 2004, and 2014 revivals. Plus, the *Cabaret* film starring Minnelli and Joel Grey, who reprised his Tony-winning role as the emcee, dropped in 1972 and has since become one of the most celebrated movie musicals in history. 

## 1968: *The Happy Time*

This bittersweet show starring Robert Goulet follows a globetrotting photographer who returns to his hometown in Canada to search for something missing in life. It earned Kander and Ebb a Tony nomination for Best Score, and the show’s happy time on Broadway ended after 286 performances. 

## 1968: *Zorba*

Two months after their previous show closed, this dark-streaked musical, adapted from the novel *Zorba the Greek*, launched its 305-performance run. The songwriting duo’s attraction to edgy material continues here, including in the song “Life Is.” It matter-of-factly states that "life is what you do while you’re waiting to die.” The show came back to life in a 1983 revival. 

## 1971: *70, Girls, 70* 

Ebb, who wrote the book and lyrics, and Kander were in a lighter mood for this work about senior citizens who steal and resell furs to finance the rescue of their retirement home. The show opened in April 1971 but made a quick getaway from Broadway, running for only 35 performances.

## 1975: *Chicago* 

Regarding celebrity criminals and the true crime craze, this story of merry man killers Roxie Hart and Velma Kelly – roles originated by Gwen Verdon and Chita Rivera – was way ahead of its time. *Chicago* was up for 11 Tonys, including Best Score and Best Book (co-written by Ebb), but the show went home empty-handed. Nowadays, the six-time Tony-winning 1996 revival is the second longest-running show in Broadway history. 

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## 1977: *The Act*

Michelle Craig, a movie-star-turned Las Vegas performer played by Minnelli (who won a Tony), recalls her rocky career moves and romances in this show that opened in October 1977 and ran for 233 performances.

Among the tunes in the Tony-nominated score is “The Money Tree,” in which Michelle wises up about the guy in her life: “The day will come; he’ll come running to me the day the sun turns black and there’s a money tree.”

## 1981: *Woman of the Year*

The duo found creative inspiration for this Lauren Bacall star vehicle in the 1942 Spencer Tracy and Katharine Hepburn comedy about rival reporters falling in and out of love. Bacall sings about that in the witty number “I Wrote the Book,” in which her character notes that she is up on everything – including how to lose a man.

Likewise, Kander and Ebb continued to show they wrote the book on songwriting, winning a Tony for their score. The show opened in March 1981 and closed after 770 performances in just under two years.  

## 1984: *The Rink*

The songwriting team notched another Tony nomination for this score. *The Rink* takes place at a decrepit roller rink, where a mom and daughter (played by Rivera and Minnelli) deal with various challenges, including each other. The show opened in August 1984 and rolled along for 204 performances before calling it a day. 

## 1992: *Kiss of the Spider Woman*

Based on the Manuel Puig novel about a prisoner in Latin America who escapes into a fantasy world, *Kiss of the Spider Woman* was adapted into an Oscar-winning movie before becoming a Tony-winning musical.

Kander and Ebb took home the Best Score Tony, one of seven prizes for the show, including Best Musical and Best Actress for Rivera in the title role. The show opened in May 1993 and had its last kiss in April 1995 after 904 performances.

## 1997: *Steel Pier*

Gritty settings and scenarios become Kander and Ebb. No wonder this show about lost souls in Depression-era Atlantic City appealed to them. Their score got a Tony nomination, but the show ran just 76 performances after its April 1997 premiere.

## 2006: *Curtains*

This backstage murder mystery musical comedy starring David Hyde Pierce opened in March 2007 – making it the duo’s first new show since Ebb’s death – and ran 511 performances. The Tony-nominated score featured “Show People,” an upbeat nod to theatre performers “who live in a world of their own” and who are “born every night at half-hour call.” Write what you know, they say – and Kander and Ebb knew actors.

## 2010: *The Scottsboro Boys* 

“How about a musical about racism, rape, and Jim Crow?” New York Theatre Guide noted in its [four-star review of *The Scottsboro Boys*](https://www.newyorktheatreguide.com/reviews/the-scottsboro-boys-0). It added that “if anyone is going to handle” those topics, it’s Kander and Ebb, who are both credited for music and lyrics in their Tony-nominated score. The story recounts true events from 1931 Alabama, where nine young Black men were accused of raping two white women. The show, directed by Susan Stroman, was framed as a minstrel show, which inspired protests. It ran 49 performances.

## 2015: *The Visit*

A star vehicle for Rivera, this show about a scorned woman who engineers the ultimate revenge on her ex-lover is based on Friedrich Duerrenmatt's 1956 play. The show took 15 years of development to reach Broadway. *The Visit* was up for five Tonys but won none, and the musical closed after 61 performances. 

## 2023: *New York, New York* 

Listen up for Kander and Ebb hits including the title blockbuster and “But the World Goes Round” from Martin Scorsese’s 1977 film. The duo’s songs and the setting — 1946 New York — are the only carryovers from the screen, though. This musical features a new plot about artists seeking success in the city.

*New York, New York* also includes new songs by Kander and Hamilton’s Lin-Manuel Miranda, bridging old and new songwriting talents. You’ll want to be a part of this Kander and Ebb collaboration.

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## Other Kander and Ebb Broadway credits

The above are the musicals the duo created together, but Kander and Ebb songs are so popular that they pop up in plenty of other Broadway shows. These include *Prince of Broadway*, a 2017 tribute to Harold Prince; *Come Fly Away*, a 2010 dance show built around Frank Sinatra hits; and *Liza*, a 1974 concert by Minnelli.

*Photo credit: Chicago on Broadway. (Photo by Jeremy Daniel)*

A history of Kander and Ebb musicals on Broadway

Photo credit: Cast of Chicago (Photo by Jeremy Daniel)

New York, New York on Broadway - NYC

New York, New York on Broadway

John Kander and Fred Ebb are the songwriting duo behind one of Broadway's longest-running shows and many other theatrical classics that often get revived.

This is a bombshell! The new musical [*Smash*](https://www.newyorktheatreguide.com/show/24261-smash-a-new-musical-tickets), based on the hit TV drama series of the same name, will come to Broadway during the 2024-2025 season.

The *Smash* TV show ran on NBC for two seasons from 2012-2013. It centered on the road to Broadway for *Bombshell*, a fictional musical about the life of Marilyn Monroe.

Key characters included Karen ([Katharine McPhee](https://www.newyorktheatreguide.com/stars-on-stage/katharine-mcphee)) and Ivy (Megan Hilty), two actresses vying to play Marilyn; Julia ([Debra Messing](https://www.newyorktheatreguide.com/stars-on-stage/debra-messing)) and Tom ([Christian Borle](https://www.newyorktheatreguide.com/stars-on-stage/christian-borle)), the writers of *Bombshell*; and Derek (Jack Davenport), the director of *Bombshell*.

Casting for the Broadway production has yet to be announced, but multiple major names are attached on the creative side. Directing is five-time Tony Award winner Susan Stroman, who's known for staging musicals including *The Producers*, *Contact*, *Show Boat*, and *Crazy for You*. She also directs and choreographs [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) on Broadway this season.

Marc Shaiman and Scott Wittman wrote original songs for the *Smash* TV series, and many of those songs will appear in the musical alongside new material from the duo. They're behind this season's [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets) musical and the Tony-winning *Hairspray*.\

The book for *Smash* is by Tony winner Bob Martin (*The Prom*, *The Drowsy Chaperone*) and Tony nominee Rick Elice (*Jersey Boys*, *Peter and the Starcatcher*).

Joshua Bergasse, who choreographed the TV show, returns to direct the *Smash* musical. Additionally, producing is Steven Spielberg, who came up with the original concept for the TV show, alongside Robert Greenblatt and Neil Meron.

Check back for information on *Smash* tickets on New York Theatre Guide.

'Smash' to premiere on Broadway in 2024-25 season

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Smash, A New Musical - NYC

Smash, A New Musical

The new musical comedy is based off the hit TV series about the creation of a fictional Marilyn Monroe musical, which aired on NBC from 2012 to 2013.

Come join the cookout! The Pulitzer Prize-winning Broadway play [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets) is offering digital rush tickets via TodayTix for its entire Broadway run. Performances began last night ahead of an April 12 opening, and the play is at the [American Airlines Theatre](https://www.newyorktheatreguide.com/theatres/american-airlines-theatre) until June 25 only.

Rush tickets will be available for $39 [on the TodayTix app](https://www.todaytix.com/nyc/shows/27141-fat-ham-on-broadway). Beginning at 9 a.m. each performance day, users can purchase up to two tickets for that day's performance on a first-come, first-served basis. Users can set an alert to be notified when tickets become available each day.

## What is *Fat Ham* about?

*Fat Ham* takes Shakespeare's classic tragedy *Hamlet* and [sets the action at a Southern barbecue](https://www.newyorktheatreguide.com/theatre-news/news/the-differences-and-similarities-between-fat-ham-and-shakespeares-hamlet). But Juicy, the Hamlet figure, is a queer, Black college student with second thoughts about murdering his uncle to avenge his father.

The play premiered off Broadway in 2022 at The Public Theater, and the [whole cast of that production](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-cast-of-fat-ham-on-broadway) reprises their roles on Broadway. They include Nikki Crawford as Tedra, Chris Herbie Holland as Tio, Billy Eugene Jones as Rev/Pap, Adrianna Mitchell as Opal, Calvin Leon Smith as Larry, Marcel Spears as Juicy, and Benja Kay Thomas as Rabby. Saheem Ali directs.

A [four-star review of *Fat Ham*](https://www.newyorktheatreguide.com/reviews/fat-ham-off-broadway-review) off Broadway calls the show "hilarious, chaotic and weirdly lovely... This slice of life leans hard into comedy, not tragedy, as it ponders big things that matter: personal identity, sexuality, transparency, living out loud."

[Learn more about *Fat Ham* on Broadway.](https://www.newyorktheatreguide.com/theatre-news/news/why-you-should-see-the-pulitzer-prize-winning-play-fat-ham)

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*Photo credit: The cast of Fat Ham on Broadway. (Photo by Marc J. Franklin)*

'Fat Ham' offering rush tickets on TodayTix

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Fat Ham on Broadway - NYC

Fat Ham on Broadway

The Pulitzer Prize-winning play that modernizes Shakespeare's *Hamlet* will offer a limited number of same-day tickets to each performance of its limited run.

Be a part of it! [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) will offer rush and lottery tickets for its Broadway run, which begins performances March 24 at the [St. James Theatre](https://www.newyorktheatreguide.com/theatres/st-james-theatre). Opening night is April 26.

*New York, New York* offers $35 tickets via a digital lottery. Lottery entries are accepted until 10:30 a.m. the day before the performance, and winners are notified by email and text shortly afterward at 11 a.m. Each person can request up to two tickets.

*New York, New York* also offers $30 rush tickets in person at the St. James box office. Rush tickets are available beginning when the box office opens at 10 a.m. each day except Sunday, when it opens at 11 a.m. Each person can purchase up to two tickets for that day's performance. Rush tickets are subject to availability.

Loosely based on the 1977 Martin Scorsese film of the same name, *New York, New York* follows a group of artists trying to make it big in the city in 1946. The show features songs from the film, including the iconic title theme, by John Kander and Fred Ebb. New songs composed for the musical are by Kander and Lin-Manuel Miranda.

Colton Ryan and Anna Uzele star, and five-time Tony Award winner Susan Stroman directs.

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'New York, New York' to offer Broadway lottery and rush tickets

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It’s showtime, folks! Typical Broadway musicals come with stories that have a beginning, a middle, and an end. [*Bob Fosse’s Dancin’*](https://www.newyorktheatreguide.com/show/24249-bob-fosses-dancin-tickets) doesn’t follow that template, and it wastes no time letting audiences know that. “What you are about to see is an almost plotless musical,” a performer says in the show’s opening moment. 

True enough. Then again, in this exuberant musical revue celebrating the singular, groundbreaking work of choreographer Bob Fosse, every dancer's movement – from goofy, vulnerable knock knees to hypnotizing, frisky finger wags — tells an eloquent, and often provocative, story. 

Director Wayne Cilento’s revival of the 1978 Tony-winning Best Musical, then simply called *Dancin’*, preserves Fosse’s original choreography and interpolates a wide sweep of numbers, including rarely performed pieces and Fosse classics. Look for them to shimmy, shuffle, and leap across the stage. 

But perhaps you don't know what "classic Fosse" looks like or why his legacy warrants a two-hour musical. No worries — you're in the right place to find out the basics of his dance style, what you'll see on stage in *Dancin'*, and all that jazz. Learn more about this Broadway superstar and his sexy fancy footwork, and then check it out at the [Music Box Theatre](https://www.newyorktheatreguide.com/theatres/music-box-theatre).

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## Who is Bob Fosse?

Bob Fosse was a choreographer, director, performer, and visionary changemaker in the theatre world. Beginning in the 1950s, he reshaped Broadway dancing with his innovative and influential choreography that was as precise as it was sensual. His moves set several of musical theatre’s most famous shows in motion, and the dancing is now just as iconic as the songs and stories. 

## What musicals is Bob Fosse known for?

By the time of his death at age 60 in 1987, Fosse had won eight Tony Awards for *The Pajama Game*, *Damn Yankees*, *Redhead*, *Little Me*, *Sweet Charity*, *Pippin*, *Dancin’*, and *Big Deal*. Among his most popular and iconic dance numbers from these shows are the sultry [“Steam Heat”](https://youtu.be/eQdyDlSie0Q) from *Pajama Game*, in which he used his now-trademark bowler hats; the sexy bump-and-grinding [“Big Spender”](https://youtu.be/iG3VfKlfDEk) from *Sweet Charity*; and the mesmerizing [“Magic to Do”](https://youtu.be/ADeU6qz37B4) from *Pippin*, with sharp jazz hands in the spotlight. Look for bits of these on stage at *Bob Fosse’s Dancin’*.

Fosse also co-wrote, directed, and choreographed John Kander and Fred Ebb’s 1975 Broadway premiere of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) — he's a triple threat and then some. The musical's 1996 revival, which Ann Reinking meticulously choreographed in Fosse's style, is now the second-longest running show in Broadway history.

## What is Fosse known for beyond Broadway?

Fosse generally gravitated to works with a sexy edge, a dark side, or both. He directed the films *Sweet Charity*, *Lenny*, *All That Jazz*, and *Star 80*. But most notably, he won an Oscar for his direction of 1972 film version of Kander and Ebb’s *Cabaret*, which he also choreographed.

Fosse wasn't involved with the musical's Broadway premiere, but the film indelibly linked Fosse's name with *Cabaret*. A number in *Bob Fosse’s Dancin’*, "Spring Chicken," features Fosse's choreography from that film's song ["Mein Herr."](https://youtu.be/lxmz3RcNNBE)

In addition, a number of film and TV projects portray Fosse's own life story — he was a fascinating character on stage and off. In the semi-autobiographical 1979 movie *All That Jazz*, Fosse directed Roy Scheider as his alter ego Joe Gideon, a manic moviemaker who has a fatal cardiac event. Fosse died of a heart attack in 1987; leave it to him to call the steps on his own demise.

The 2019 miniseries *Fosse/Verdon* focused on his personal and working relationship with Gwen Verdon, his wife and the star of multiple of his projects.

## What is the Fosse dance style?

Fosse’s full-bodied signature jazz choreography created a style and a language that speaks for itself. Movements, and stillness, are meticulous. His signature jazz moves include curved shoulders, hip rolls and thrusts, turned-in knees and toes, sideways shuffling, insistent finger snaps, and the famous jazz hands. Hats, particularly bowlers, are a classic Fosse tool to make the dance more dynamic.

## What dance styles are in *Bob Fosse's Dancin’*?

Fosse is best known as a jazz choreographer, but *Bob Fosse’s Dancin’* shows he has a much wider range. He was fluent in classical, jazz, pop, and tap, and all those styles and others are on view.

“Percussion” is a four-part piece that showcases Fosse’s appreciation for the precision and rigor of traditional ballet, but through characters such as boxers. “Big City Mime” is a mini-ballet set in a seedy urban sexscape. “Sing Sing Sing” – set to the Benny Goodman classic – bursts with energy as dancers leap and tap across the stage. A bit of the iconic [“Manson Trio”](https://youtu.be/V3b40WGwPuw?t=220) from *Pippin* gets its place at center stage. 

## Where is *Bob Fosse’s Dancin’* playing?

*Bob Fosse’s Dancin’* is at the Music Box Theatre. Director Wayne Cilento, who was nominated for a Best Featured Actor Tony for the original 1978 production and won a Best Choreography Tony for *The Who’s Tommy*, said he wants “to introduce Fosse to a new generation of audiences.” He’s doing that – one hip pop at a time.

Get *Bob Fosse’s Dancin’* tickets now.

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*Photo credit: The company of Bob Fosse's Dancin' on Broadway. (Photo by Julieta Cervantes)*

What to know about the legendary namesake of ‘Bob Fosse’s Dancin’’ on Broadway

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Bob Fosse's Dancin' on Broadway - NYC

Bob Fosse's Dancin' on Broadway

The choreographer behind *Chicago*, *Cabaret*, *Pippin*, and more is known for jazz hands and black hats, but there’s much more to his style — learn more here.

Great Scott! The complete [*Back to the Future*](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets) Broadway cast has been set. The show will fly into the [Winter Garden Theatre](https://www.newyorktheatreguide.com/theatres/winter-garden-theatre) on June 30 ahead of an August 3 opening.

*Back to the Future* is based on the hit 1985 film of the same name about Marty McFly, a teenager who almost stops his parents from meeting when he travels back in time to 1955. With the help of scientist Doc Brown, he must figure out how to fix the past to save his future.

The *Back to the Future* musical premiered in London in 2020 and won the Olivier Award for Best New Musical in 2022.

## Who is in the *Back to the Future* Broadway cast?

Rounding out the principal cast are Liana Hunt as Lorraine Baines, Jelani Remy as Goldie Wilson/Marvin Berry, and Nathaniel Hackmann as Biff Tannen. They join previously announced leads Roger Bart as Doc Brown, Casey Likes as Marty McFly, and Hugh Coles as George McFly. Bart and Coles reprise their roles from London.

The newly announced ensemble cast includes Merritt David Janes as Strickland, Mikaela Secada as Jennifer Parker, Amber Ardolino, Will Branner, Victoria Byrd, Brendon Chan, Kevin Curtis, Nick Drake, Samuel Gerber, Marc Heitzman, Kimberly Immanuel, Joshua Kenneth Allen Johnson, Hannah Kevitt, JJ Niemann, Becca Petersen, Emma Pittman, Jonalyn Saxer, Blakely Slaybaugh, Gabi Stapula, and Daryl Tofa.

The creative team is led by director John Rando. The book is by Bob Gale, who co-wrote the *Back to the Future* film trilogy's screenplays, and music and lyrics by Alan Silvestri (who composed the film's score) and Glen Ballard. Additional songs from the film including “The Power of Love” and “Johnny B. Goode” also appear in the stage musical.

Check back for information on *Back to the Future* tickets on New York Theatre Guide.

*Photo credit: Casey Likes and Roger Bart. (Photo by Hugo Glendinning)*

'Back to the Future' sets complete Broadway cast

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Back to the Future on Broadway - NYC

Back to the Future on Broadway

Find out who is joining Casey Likes, Roger Bart, and Hugh Coles in the New York premiere of this musical based on the cult classic 1985 sci-fi comedy film.

Roundabout Theatre Company has set its full 2023-24 theatre season, including four world-premiere plays and one revival. Beginning in September, two plays will go up on Broadway and three off Broadway.

The first Broadway play in the season is the world premiere of Theresa Rebeck's new comedy *I Need That*, starring Golden Globe winner and Tony and Oscar nominee Danny DeVito. He plays a reclusive hoarder who must clean up his home when threatened with eviction.

DeVito stars alongside his daughter, Lucy DeVito, and Ray Anthony Thomas at the [American Airlines Theatre](https://www.newyorktheatreguide.com/theatres/american-airlines-theatre) from October 2023. Moritz von Stuelpnagel directs.

Roundabout's spring Broadway production, also at the American Airlines, is a revival of the Tony-nominated play *Home*, written by Samm-Art Williams and directed by Kenny Leon. This coming-of-age show centers on a man named Cephus Miles who must reevaluate his life when his high school sweetheart marries someone else. The Negro Ensemble Company originally staged *Home* in 1979.

The first Off-Broadway show in Roundabout's season is *The Refuge Plays* by by Nathan Alan Davis. The show follows one Black family over 70 years, beginning when a ghost tells a woman named Gail she will die within 24 hours. Roundabout presents the show in association with New York Theatre Workshop, beginning performances in September 2023 at the [Harold and Miriam Steinberg Center for Theatre](https://www.newyorktheatreguide.com/theatres/harold-and-miriam-steinberg-center-for-theatre)'s Laura Pels Theatre. Patricia McGregor directs.

The world premiere of York Walker's [*Covenant*](https://www.newyorktheatreguide.com/show/25220-covenant-tickets), originally announced for the 2022-23 season, will now go up in October 2023 at the Steinberg Center's Black Box Theatre. Tiffany Nichole Greene directs this show about a blues musician who is rumored to have made a deal with the devil to get his incredible talent.

The final show in the Off-Broadway season, *Jonah*, is written by Rachel Bonds and directed by Danya Taymor. In this haunting coming-of-age story, Ava will do just about anything to make her fantasies come true. Her fellow boarding school student Jonah might be the perfect person for her, but he's not all he seems. Performances will begin in spring 2024.

Additional casting, creative team, and exact performance dates for all the above shows will be announced at a later date.

*Photo credit: Danny DeVito. (Photo by Daniel Bergeron)*

Danny DeVito to lead 'I Need That' on Broadway; 2023-24 Roundabout season announced

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Roundabout Theatre Company has set five total shows in its season, on Broadway at the American Airlines Theatre and off Broadway at the Steinberg Center.

[*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets) has carved a place in history. The show debuted to rave reviews — and a Best New Play Olivier Award — in London's West End, quickly selling out before moving to the [Longacre Theatre](https://www.newyorktheatreguide.com/theatres/longacre-theatre) on Broadway. The play is by the legendary Tom Stoppard, whose career spans nearly seven decades. New York Theatre Guide’s five-star review hails the show as “first-rate” and “a masterwork” — and it’s perhaps his swan song. Now 85 years old, Stoppard indicated *Leopoldstadt* might be his final work.

The play, directed by Patrick Marber, who also helmed the West End production in 2020, boasts a cast of 38 actors, a rarity for a non-musical show. The powerful story spans 56 years of history and centers around the fictional Merz-Jacobowitz family living in Vienna. The play delves into the profound impact the Holocaust and anti-Semitism have on the family as generations go by.

Before heading to the Longacre to experience this moving production, read about its history, previous productions, creator, and more.

Get *Leopoldstadt* tickets now.

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## What is *Leopoldstadt* about? 

*Leopoldstadt* follows multiple generations of the fictional Jewish Merz-Jacobowitz family in Vienna in the 20th century. The play showcases not only their everyday family dynamics but also the devastating impact of World War II. The increasing threat of a Nazi invasion fractures their family and makes everyone, even the ones who consider themselves Austrian above all, face their Jewish heritage.

Each of the five acts takes place in a separate year: 1899, 1900, 1924, 1938, and finally, 1955. In the final act, the remaining family members come together from across the world to the family home to recollect their painful and fond memories. 

![4 leopoldstadt-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/18fEUnMKaucY0kh8Bie5sM/205be08059d472786bf113830df6ff30/4_leopoldstadt-1200x600-NYTG.jpg)

## Where is *Leopoldstadt* playing? 

*Leopoldstadt* on Broadway plays at the [Longacre Theatre](https://www.newyorktheatreguide.com/theatres/longacre-theatre) at 220 W 48th St. between Eighth Avenue and Broadway. The theatre opened in 1913 and was named after Longacre Square, now Times Square. Hit shows including *The Lark*, *Ain’t Misbehavin’*, and *Of Mice and Men* have all played at the venue. 

## How long is *Leopoldstadt*? 

*Leopoldstadt* is 2 hours and 10 minutes long with no intermission. This falls into the average Broadway show length, between 90 minutes and 3 hours.

## What days is *Leopoldstadt* playing? 

*Leopoldstadt* typically plays Tuesday through Sunday with no performances on Mondays. Wednesdays and Saturdays have both a matinee and evening show, and Sundays have a matinee only. For an up-to-date weekly schedule, [visit the *Leopoldstadt* page](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets). 

## When did *Leopoldstadt* premiere?

*Leopoldstadt* is a relatively new play, premiering in February 2020 at Wyndham’s Theatre in London. Its run there was brief but was the start of great success for *Leopoldstadt*. Learn more about the history of *Leopoldstadt*’s creation and productions below.

- 1993: One of Stoppard’s relatives of Czech descent contacts the playwright and tells him of his Jewish heritage. This encounter [inspired Stoppard to write *Leopoldstadt*](https://www.newyorktheatreguide.com/theatre-news/news/how-tom-stoppards-life-inspired-his-play-leopoldstadt).
- 2020: *Leopoldstadt* premieres in London in February. The show shut down a month later due to the pandemic but reopened in August 2021. 
- 2022: *Leopoldstadt* premieres on Broadway. Initially scheduled for a four-month limited engagement, the production received critical and audience acclaim and extended its run multiple times.

![5 leopoldstadt-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/2gxzs5JcuV3WUzagA1S1G7/93e869b5f4eb9eee47fed2d0237a887e/5_leopoldstadt-1200x600-NYTG.jpg)

## Who wrote *Leopoldstadt*? 

*Leopoldstadt* is by Tom Stoppard, whose legendary playwriting career began in 1953. Stoppard has written many notable works, including the 1998 Oscar-winning screenplay for *Shakespeare in Love* and the plays *Rosencrantz and Guildenstern Are Dead*, *The Invention of Love*, and *Night and Day*. His work has earned him six Tony Awards (three are for the same play, Parts 1-3 of *The Coast of Utopia*).

Stoppard has created plays for the stage, radio, and television alongside film and television adaptations of plays and books. He has also worked as a journalist and even written a novel, *Lord Malquist and Mr Moon*. 

## *Leopoldstadt* cast and characters

One thing that makes *Leopoldstadt* unique is that there aren’t any leading characters. The main “character” is the whole Merz-Jacobowitz family, which contains dozens of relatives who come and go throughout the play. The story covers multiple generations of the family over 56 years, and some actors take on various roles as the play goes on, playing an older character in the first half and their son or daughter in the second.

There are 38 people in the cast, three of whom reprise their roles from the London production: Jenna Augen as Rosa Kloster, Aaron Neil as Ernst Kloster, and Faye Castelow as Gretl Merz.

![6 leopoldstadt-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/1mUOdNUWy63P2iuFI4PfMt/4300995df01476f1abbf95e15ef9af92/6_leopoldstadt-1200x600-NYTG.jpg)

## What awards has *Leopoldstadt* won? 

While the 2022 *Leopoldstadt* Broadway production hasn’t won any awards yet, its sellout West End debut won two Olivier Awards: Best New Play and Best Actor in a Supporting Role for Adrian Scarborough as Hermann Merz. 

Additionally, *Leopoldstadt* received critical acclaim on both sides of the pond. [New York Theatre Guide’s five-star review](https://www.newyorktheatreguide.com/reviews/leopoldstadt-broadway-review-tom-stoppard) reads, “The playwright declares his own heritage in first-rate, epic, and urgent fashion, seemingly atoning for lost time.”

Another [five-star review on London Theatre](https://www.londontheatre.co.uk/reviews/review-tom-stoppards-leopoldstadt-at-the-wyndhams-theatre) reads, “It's nothing less than an epic portrait… This is a powerful, important new play from one of our greatest living playwrights.”

## Major productions of *Leopoldstadt*

*Leopoldstadt* has had a few notable productions and screenings, as the London stage production was filmed and shown in cinemas. Learn more about all the major productions of *Leopoldstadt* thus far.

- 2020 London premiere: Leopoldstadt debuted in February 2020 at Wyndham’s Theatre in London, winning two Olivier Awards, including Best New Play. The play's second performance occurred on January 27, Holocaust Memorial Day, and every audience member received a memorial candle.
- 2022 cinema screening: Numerous U.K. and international cinemas showed a National Theatre Live recording of the play on January 27, 2022.
- 2022 Broadway premiere: The show began performances in New York at the Longacre Theatre in September 2022. Originally scheduled to run through January 2023, the run was extended through July. 

![3 leopoldstadt-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/3eoaij5B7pRZc92MtW4EsI/fdeb5ba758d1bd9b70741edc01cb78ec/3_leopoldstadt-1200x600-NYTG.jpg)

## Fun facts about *Leopoldstadt*

Learn more about Stoppard and the inspiration behind *Leopoldstadt* with these facts that show why the play is one for the history books.

- In 1997, Queen Elizabeth II knighted Stoppard for his contributions to theatre. 
- This show is deeply personal to Stoppard, whose grandparents died in concentration camps. He only learned this from a Czech relative when Stoppard was in his 50s, inspiring him to write *Leopoldstadt*. Stoppard has said, “Quite a lot of it is personal to me, but I made it about a Viennese family so that it wouldn't seem to be about me."
- *Leopoldstadt*'s title comes from the historically Jewish district in Vienna of the same name. 
- Leo, a character in the play's final scene, is a loose stand-in for Stoppard. The character is an Englishman who doesn’t learn about his Jewish ancestry for decades.

## How to get *Leopoldstadt* tickets 

This impactful and award-winning show has been such a hit that its Broadway run has extended. Experience this moving historical tragedy by one of the most celebrated playwrights alive today, and see *Leopoldstadt* before the Broadway run is just a memory.

Get *Leopoldstadt* tickets now.

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*Photo credit: Leopoldstadt on Broadway. (Photos by Joan Marcus)*

Everything you need to know about 'Leopoldstadt' on Broadway

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Recommended for 10 +. Children under the age of 4 are not permitted in the theatre.

Leopoldstadt on Broadway - NYC

Leopoldstadt on Broadway

Learn about the cast, history, and creation of this sweeping drama by Tom Stoppard, which won awards for portraying a 20th-century Jewish family torn apart.

They're the greatest stars! Paolo Montalban and Anne L. Nathan will join the [*Funny Girl*](https://www.newyorktheatreguide.com/show/24232-funny-girl-tickets) Broadway cast beginning March 28. The first revival of the classic musical is playing at the [August Wilson Theatre](https://www.newyorktheatreguide.com/theatres/august-wilson-theatre) through September 3.

Montalban and Nathan will step into the roles of Florenz Ziegfeld and Mrs. Strakosh, respectively. They replace Peter Francis James and Toni DiBuono, who play their final shows on March 26.

Montalban is known for starring in the TV movie *Rodgers and Hammerstein's Cinderella*, opposite Brandy, and for Broadway appearances in *Pacific Overtures* and *The King and I*. *Funny Girl* marks his first return to Broadway in 10 years, since 2013's *Breakfast at Tiffany's*.

Nathan has appeared in seven previous Broadway shows including *Once*, *Sunday in the Park with George*, *Assassins*, and *Thoroughly Modern Millie*.

## Who is in the *Funny Girl* Broadway cast?

In addition to Montalban and Nathan, the *Funny Girl* cast features [Lea Michele](https://www.newyorktheatreguide.com/stars-on-stage/lea-michele) as Fanny Brice, Julie Benko as the Fanny Brice alternate, [Ramin Karimloo](https://www.newyorktheatreguide.com/stars-on-stage/ramin-karimloo) as Nick Arnstein, Jared Grimes as Eddie Ryan, Tovah Feldshuh as Mrs. Rosie Brice, Ephie Aardema as Emma and Mrs. Nadler, Debra Cardona as Mrs. Meeker, and Martin Moran as Tom Keeney.

*Funny Girl* is [based on the real life of Fanny Brice](https://www.newyorktheatreguide.com/theatre-news/news/learn-about-the-showbiz-history-that-inspired-funny-girl-on-broadway), who defied the odds to become a Ziegfeld Follies star. However, she risks it all for a romance with gambler Nick Arnstein. The classic musical features a new book by Harvey Fierstein and classic songs by Jule Styne including "Don't Rain on My Parade."

Get *Funny Girl* tickets now.

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Paolo Montalban, Anne L. Nathan join 'Funny Girl' Broadway cast

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funny girl new-1200x600-NYTG

Funny Girl on Broadway - NYC

Funny Girl on Broadway

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Grease Sing-Along [11052]

Genre: Other - do not use for WL

Grease Sing-Along

[Poster] Grease Sing-Along 11052

The story concerns Sandy and Danny, two high school kids who fell in love during the holidays. However, when they go back to school Danny is embarrassed to find that Sandy now attends the same school. This presents problems for him as he is known as a bit of a womaniser and is looked up to by his mates. How can he now start being soppy with Sandy? Sandy, a goody goody, butter would not melt in her mouth sort of girl, gets involved with a bunch of 'hip' girls and needs to make lots of adjustments to fit in.

This is the third time I have seen Grease and it is without doubt the worst performance!! The film of Grease in the 70s was one of my favourites and I have the original soundtrack, so I could be called a fan of Grease. However, this stage production has deteriorated in quality in the last few years. I first saw the show in 1994 and it was fresh, bright and was sung brilliantly. I did notice a slight drop in standards the second time I saw it in 1995, but this present production is simply awful! The show is in urgent need of a revamp or at least some serious re-casting to bring in some performers who will show some enthusiasm for what they are doing. In this performance the cast were lack lustre and I was particularly disappointed by the lead Ian Kelsey as 'Danny', who looked quite wooden and could not sing the songs at all competently. The same goes for Marissa Dunlop as 'Sandy'. To hear some of my favourite songs ravaged in this way was very soul destroying. I don't like to criticise actors unnecessarily, as I know they do a very hard job, but their performance this night was amateurish and unprofessional. The singing and dancing had no conviction and they reduced the show to the standard of a High School production and not the quality expected on a West End stage.

Grease features many songs that were massive hits in the 70s, 'You're The One That I Want', 'Summer Nights', 'Sandy', Hopelessly Devoted To You' and more. What a pity they were sung so badly this night!

Grease is looking very tired and I cannot possibly recommend the show until there has been at least a change of cast.

Grease

Symphony Space

The conductor struck up the band, but the audience was already screaming. After all, many audience members who watched the television auditions for the third revival of "Grease," the iconic greaser classic, may have voted for the people they were about to see on the stage.For those of you who didn't tune in to the reality show, "Grease: You're the One That I Want," this is what happened. A bunch of star-struck youngsters who believed in themselves and their talent heeded the open call for a man and woman to play teenagers Danny Zuko and Sandy Dumbrowski, the roles created by John Travolta and Olivia Newton-John in the hit film.Among the thousands who auditioned, 20 of mediocre talent (that was the best they got) were selected to perform on successive Sundays, and at the end of each show, people called in to vote for their favorites. The following week, one man and one woman was eliminated based on the votes till the two winners were left: Laura Osnes and Max Crumm, now starring in Broadway.Crumm's claim to fame is -- well, he has none, never having appeared on stage before, but Osnes, more experienced, did play the role of Sandy at Chanhassen Dinner theatre in Minnesota. Yes, a point is being made here, albeit a sarcastic one. Casting is an art, and when the right people are in the right roles, everyone glows and the live theater experience is exhilarating. Unfortunately, it doesn't come together in this dull incarnation of "Grease."For lack of a better word, Crumm is just ordinary. Nice guy, kinda sweet, but merely someone working hard at acting, singing and dancing sans Travolta's charisma. Osnes, on the other hand, actually is talented but has a ways to go before she's ready for the big time. As for chemistry, this couple are simply two inert elements -- they don't connect with each other, or the audience.The other problem is, the "reality" part has nothing to do with the reality of the saga of "Grease." The supporting cast, playing Rizzo, Kenickie, Frenchy and other members of the T-Birds and Pink Ladies, resemble more the parents of high school greasers than teenagers -- the only way they could look like they go to Rydell High School is if they were Super Seniors for many, many years.The songs are still sing-along; the voices, especially those of Osnes, and Jenny Powers (Rizzo), are strong; and Kathleen Marshall's choreography is just right for the high school crowd. But the stage is too small and shallow for this production. It's hard to have a real dance contest when only six contestants can actually fit on the stage at one time.And then there's the story -- cut up, doctored, and rearranged. The subplot takes over the main plot, so it's Kenickie and Rizzo who dominate. "Look at Me, I'm Sandra Dee" has been misplaced. Sandy's "Devoted to You" is too little, and way too late. And if you're waiting for the great car, Grease Lightning, to have any meaning ï¿½ watch the movie instead. It makes an appearance on the small, cluttered stage, but since there's no drag race, there's no point.The T-Birds do an impressive dance number on top of the car, but that was the last we saw of it. There was some rumbling about a rumble, but no one, not even the kids behind us, could take it seriously.So, if this production is officially classified as a revival, then poor "Grease" suffocates and dies. If it's a remake, then it still falls short of its mark. Maybe, just maybe, reality TV should leave Broadway alone. Let the cast members stand online for hours at open calls, work for their Equity cards, and make us all proud when their hard work pays off.If you want to see "Grease," rent the movie.&nbsp;&nbsp;What the press had to say.....ï¿½Feels like a musical put on by a high school ï¿½ and I donï¿½t mean a high school of performing arts." <a href="http://theater2.nytimes.com/2007/08/20/theater/reviews/20grea.html" target="Top">New York Times</a> "Without magnetic performances, interest wanes in whether Danny and Sandy will couple up. Chills don't start multiplying, antsiness does." <a href="http://www.nydailynews.com/entertainment/culture/2007/08/20/2007-08-20_reality_tv_and_bway_dont_go_together.html" target="Top">New York Daily News</a> "All told, I've seen worse - but then, I've been attending the theater for more than 65 years, so "worse" is a very well-thumbed comparative." <a href="http://www.nypost.com/seven/08202007/entertainment/theater/tv_aided_grease_frightening_theater_clive_barnes.htm" target="Top">New York Post</a> "Sure, they're the nice kids TV-land America deemed worthy to be Danny and Sandy, but Max Crumm and Laura Osnes are no dream team." &amp; "The big trouble onstage is there's absolutely no sexual heat generated between them. When "Grease" doesn't sizzle, its ingredients tend to congeal." Star-Ledger "How anything can be so perky and yet so bland is yet another mystery for the ages." &amp; "It appears that the rest of the company was cast to keep the youngsters from looking bad in comparison." <a href="http://www.newsday.com/entertainment/stage/ny-etgrease0820,0,4458957.story" target="Top">NewsDay</a> "Grease" is the word on Broadway, again. And it's better than ever. The second major revival of this sweet, nostalgic show about high school life in 1959 opened last night at the Brooks Atkinson Theatre. Somehow it feels like a freshly minted hit: one part show, and two parts party where everybody's invited." <a href="http://www.thejournalnews.com/apps/pbcs.dll/article?AID=2007708200313" target="Top">The Journal News</a> "What these two young performers lack is not professionalism but distinctiveness. They certainly say their lines and sing their songs well enough. There isn't, though, that individuality or eye-catching style that makes a typical Broadway lead stand out. Their shortcomings are those of the entire production, which has a youthful and eager cast giving impersonal, rather generic performances." <a href="http://www.northjersey.com/page.php?qstr=eXJpcnk3ZjczN2Y3dnFlZUVFeXkxODcmZmdiZWw3Zjd2cWVlRUV5eTcxODMwMTkmeXJpcnk3ZjcxN2Y3dnFlZUVFeXk3" target="Top">The Record</a> "They are (Laura Osnes &amp; Max Crumm), we have been reminded ad nauseam, the ones that we wanted, and they are the ones that we got. (They are also, to be fair, no less ready for the big time than many of the C-list celebrities that were plunked into the even shoddier - and hugely popular - 1990s revival of "Grease.")" <a href="http://www.nysun.com/article/60875" target="Top">New York Sun</a> "And what about those tried-and-TV-tested leads? Laura Osnes, young but already possessed of serious theatrical credits, is an enchanting Sandy...But, alas, the televictorious Danny, Max Crumm (isn't the very name a warning?), is physically unfavored, falls somewhere between a dork and a goon, and is unable to evince the slightest chemistry with his delightful Sandy." <a href="http://www.bloomberg.com/apps/news?pid=newsarchive&amp;sid=a3bEDLLXaj7U" target="Top">Bloomberg</a> "As Danny, Max Crumm gives a cautious performance, vocally OK but short on swagger and sex appeal. Laura Osnes nicely gets Sandy's transformation, morphing with enthusiasm from good girl to bad babe... Osnes also sings well and throws herself into Marshall's spirited choreography." <a href="http://news.yahoo.com/s/ap/20070820/ap_on_en_ot/theater_grease_1" target="Top">Associated Press</a> "Tackily produced and utterly lacking the sort of fun comic spark that the original production and certainly the movie possessed (though not the most recent Broadway revival in 1994), this is a "Grease" that only will be appreciated by young TV viewers who don't know any better." <a href="http://news.yahoo.com/s/nm/20070820/stage_nm/stage_grease_dc_2" target="Top">Hollywood Reporter</a> "The most dismal thing about this "Grease" is that aside from the two discoveries plucked from a mediocre TV talent pool and thrust into this sorry walk-through, no-one appears to be trying very hard. Like the drag-queeny wig slapped on Sandy when she finally conforms to the cool-kid ethos by unleashing the bad-girl within to win Danny, it all seems somewhat counterfeit." <a href="http://www.variety.com/review/VE1117934453.html?categoryid=33&amp;cs=1" target="Top">Variety</a> &nbsp;

Grease Sing-Along Tickets

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Grease